... insistently historicist study, Asraf Rushdy examines the recent literary
genre of the neoslave narrative, urging that ‘‘rather than a facile formalism
in which form is considered a product of aesthetic imperatives, we need to...

... eighties’’ (228). Thus, Rushdy pursues intertextuality as
a historically embedded, rather than an ahistorical theoretical, principle. In
close detail, he excavates the origins of neoslave narratives in the controver...

... Mexico and Florida. In the absence of a slave narrative tra-
dition—the product of a Northern, abolitionist public sphere—Adams finds
their stories in contemporary neoslave narratives by Canadian, U.S., and
Mexican artists who fill in “the gaps left by an absence of historical data” (99...

... Mexico and Florida. In the absence of a slave narrative tra-
dition—the product of a Northern, abolitionist public sphere—Adams finds
their stories in contemporary neoslave narratives by Canadian, U.S., and
Mexican artists who fill in “the gaps left by an absence of historical data” (99...

..., abolitionist public sphere—Adams finds
their stories in contemporary neoslave narratives by Canadian, U.S., and
Mexican artists who fill in “the gaps left by an absence of historical data” (99).
By reading works such as Gayl Jones’s Mosquito (1999) and John Sayles’s film
Lone Star (1996...